Lucid Haze

About

Regine Schumann, Shuster and Moseley, and Clare Kenny look at how different applications of light influence our perceptions of form and space. Through sculptural pieces, site-specific installations and mix media works these artists investigate a diversity of subject matters from the architectural to science and philosophy based theories and personal narratives.

The 1960s marked a high point for light artists with the likes of Dan Flavin, Bruce Nauman, and James Turrell creating sculptures and environments out of diffuse light or radiant fluorescent and neon tubing. Today, artists are looking beyond their forerunners and taking light art in new directions.

Based in Cologne, Germany, Regine Schumann (b. 1961, Germany) is amongst the most notable artists working in the field of acrylic sculpture today. She is best known for artworks in which light’s ability to affect and transform viewer’s perceptions is key to her exploration of colour and form. Schumann’s innovative use of materials includes works comprising multiple panels of light, neon hoops and monumental blocks of pulsating colour. These are juxtaposed in dynamic linearity and curvilinear forms and displayed under black lights to further highlight their vibrancy.

Based in London, Claudia Moseley (b. 1984, UK) and Edward Shuster (b. 1986, UK) are a conceptual artist duo working in sculpture and installation. Their site-specific exhibitions utilise light in interaction with transparencies, often incorporating blown and float glass elements, which are suspended to form immersive environments. Their work brings into play architectural proportions, geography and anthropology, while investigating the nature of optical illusions and the meaning of technological mediation.

Based in Basel, Switzerland, Clare Kenny (b. 1976, UK) uses photography as the basis of all her works combining it with a variety of materials including found objects, building materials, ceramics, fabrics, glass, neon and paint. Drawing inspiration from her upbringing in Northern England and her family’s working class background, Kenny often explores notions relating to people’s private lives and shared histories while also seeking to confront fact and fiction, memory and illusion and the immaterial with the physical.